“Every time we experience a misfortune or a setback, we need to find a culprit. We accuse the wind if there is no other.”
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Daniel Salamanca 19
President of Bolivia (1863-1935) 1863–1935Related quotes
“In the misfortunes of our best friends, we always find something not unpleasing.”
Un Art de Vivre (The Art of Living) (1939), The Art of Friendship
<p>C'est par le malentendu universel que tout le monde s'accorde.</p><p>Car si, par malheur, on se comprenait, on ne pourrait jamais s'accorder.</p>
Journaux intimes (1864–1867; published 1887), Mon cœur mis à nu (1864)
Section 8 : Suffering and Consolation
Founding Address (1876), Life and Destiny (1913)
Context: The condition of all progress is experience. We go wrong a thousand times before we find the right path. We struggle, and grope, and hurt ourselves until we learn the use of things, and this is true of things spiritual as well as of material things. Pain is unavoidable, but it acquires a new and higher meaning when we perceive that it is the price humanity must pay for an invaluable good.
“No matter what we are, and what we sing,
Time finds a withered leaf in every laurel”
Closing couplet- Quatrain 111 Children of the Night 1897 edition kindle ebook ASIN B004UJKLY2
“We all have strength enough to endure the misfortunes of others.”
Nous avons tous assez de force pour supporter les maux d'autrui.
Maxim 19.
Reflections; or Sentences and Moral Maxims (1665–1678)
Source: The Life of Poetry (1949), p. 169; part of this statement is also used in the "Introduction"
Context: In time of the crises of the spirit, we are aware of all of need, our need for each other and our need for ourselves. We call up our fullness; we turn, and act. We begin to be aware of correspondences, of the acknowledgement in us of necessity, and of the lands.
And poetry, among all this — where is there a place for poetry?
If poetry as it comes to us through action were all we had, it would be very much. For the dense and crucial moments, spoken under the stress of realization, full-bodied and compelling in their imagery, arrive with music, with our many kinds of theatre, and in the great prose. If we had these only, we would be open to the same influences, however diluted and applied. For these ways in which poetry reaches past the barriers set up by our culture, reaching toward those who refuse it in essential presence, are various, many-meaning, and certainly — in this period — more acceptable. They stand in the same relation to poetry as applied science to pure science.
